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2021 comedy special past Bo Burnham

Bo Burnham: Inside
A filming setup and a ceiling fan are located within a small room. In small black letters, the words "A Netflix Original Special" can be seen above the medium-sized name "Bo Burnham", which itself is above a larger, all capitalized, title: "Inside".

Promotional release poster
Directed by Bo Burnham
Written by Bo Burnham
Produced past Josh Senior
Starring Bo Burnham
Cinematography Bo Burnham
Edited by Bo Burnham
Music by Bo Burnham
Distributed by Netflix

Release dates
  • May xxx, 2021 (2021-05-thirty) (Netflix)
  • July 22, 2021 (2021-07-22) (United states)

Running fourth dimension

 87 minutes
Land United States
Language English language

Bo Burnham: Inside is a 2021 American special written, directed, filmed, edited, and performed by comedian Bo Burnham.[i] Recorded in the guest house of his Los Angeles home during the COVID-19 pandemic without a crew or audience, information technology was released on Netflix on May 30, 2021. Featuring a variety of songs and sketches about Burnham's 24-hour interval-to-day life indoors, it depicts his deteriorating mental wellness and explores themes of performativity and his relationship to the Internet and the audition information technology helped him attain, as well every bit addressing issues including climate change and social movements. Other segments hash out online activities such as calling ane's mother on FaceTime, posting on Instagram, sexting, and video game streaming.

Within follows Burnham's previous stand up-upward comedy routine Brand Happy (2016); while touring for Make Happy, Burnham began to experience panic attacks onstage. Inside was released on May 30, 2021, and an anthology of songs from the special, Inside (The Songs), was released digitally on June ten, 2021. The special received disquisitional acclaim, with reviewers praising its music, direction, cinematography, and presentation of life in the pandemic.[two] Critics plant that the special incorporates a diverseness of art forms including music, stand-up comedy bits, and meta-commentary, describing it as some combination of one-act, drama, documentary, and theater. For Inside, Burnham received Emmy Awards for Outstanding Directing for a Variety Special, Outstanding Music Direction, and Outstanding Writing for a Variety Special, while besides receiving the Grammy Award for All-time Vocal Written for Visual Media for "All Optics on Me".

Background [edit]

Bo Burnham is a musical comedian who rose to fame past posting videos on YouTube from 2006 onwards.[iii] After these songs were adjusted into his debut self-titled album (2009),[iv] he performed three stand-up tours, the first two of which were released as albums and the terminal two as recorded performances: Words Words Words (2010),[5] what. (2013),[vi] and Make Happy (2016).[7] During the tour for Make Happy, Burnham began to have panic attacks onstage. In the intervening years, he wrote and directed Eighth Form (2018) and starred in Promising Young Woman (2020).[8]

Synopsis [edit]

Unable to get out his domicile, Burnham performs in a single room. He gives periodic updates about the time that has passed while he worked on the special, with his hair and beard growing throughout. After singing "Content" and satirizing white male person comedians in "Comedy", he finds the motivation to begin making the special. He performs "FaceTime with My Mom (This night)", a vocal about the frustrations of FaceTiming his mother. He so sings "How the World Works" to teach children nearly nature, but the sock puppet he introduces begins to sing nigh diverse controversial topics, including historical genocide and worker exploitation, before criticizing Burnham for explaining the problems through his perspective.

In a parody of a product make consultant, Burnham talks about companies needing to perform moral virtues. He sings "White Adult female's Instagram" about Instagram tropes. In a stand up-upward format, he questions the necessity of every private voicing their opinions. Burnham records a reaction video to "Unpaid Intern", his cursory song about the disposability of unpaid internships, but begins reacting to a multiplying loop of himself recording the reaction video. He and so sings "Bezos I", which disingenuously praises Jeff Bezos.

Burnham sings near sexting in a vocal of the aforementioned name before parodying a typical YouTuber'due south "thank-you" video while property a knife. He performs "Look Who's Inside Again" and "Problematic", the latter addressing behavior from his past. He speaks to the viewer a few minutes before his 30th birthday, revealing that he had hoped to finish the special earlier this date; he so sings "30", in which he laments his aging. The song ends with him stating that he volition commit suicide when he is 40, only he then urges viewers not to impale themselves despite confessing that he would do and then if only temporary. This anti-suicide talk is projected onto his white T-shirt as he rewatches it several months later.

Later an intermission in which he cleans the camera, Burnham rhetorically asks the audience what they think of the special in "Don't Wanna Know". In a video game streamer parody, he plays a game that consists of himself crying in his room while his streamer self provides commentary. He and so sings the ironically upbeat vocal "Shit" well-nigh a depressive episode, then describes being at an "All Time Low" in his mental health. In "Welcome to the Internet", he discusses the origins and irresolute nature of the net, encouraging the viewer to appoint with diverse types of content, some upbeat and some morbid. After admitting that he does not want to cease the special because then he will have nothing to distract him, he satirizes Bezos again in "Bezos II", then performs "That Funny Feeling", which describes a series of incongruous images and impending societal plummet. He attempts to talk to the viewer, simply gets overwhelmed and strikes some equipment before breaking down in tears.

In "All Eyes On Me", Burnham sings for a pre-recorded track of an audience; he reveals that he stepped away from alive one-act 5 years prior because he began suffering astringent panic attacks on stage, and that his mental health had improved plenty past January 2020 for him to return earlier "the funniest thing happened". The vocal instructs the audience to get upward and alternately hold their hands up and pray for him. Growing angry with the viewer, he picks upward the camera and dances with it before dropping information technology on the basis.

After going about normal morning activities and watching footage of the preceding scene on his laptop, Burnham says he is "done". A flashback shows him with a shorter hairstyle and bristles, and he sings "Good day", in which he reflects on his life; the scene cuts back to his longer-haired, bearded self during the song, which incorporates several lyrics from previous songs. A montage shows Burnham setting upward the room for each song from the special, before cutting to himself performing naked with a spotlight on him. Afterwards the song, he leaves the room in a white outfit, only to be locked out as an unseen audience applauds so laughs at him for attempting to go back inside. Dorsum in the room, he watches footage of this on his projector as the audition's laughter gets louder, and begins to grinning earlier the screen abruptly cuts to black. The last song "Whatsoever Solar day Now" plays over the stop credits, consisting solely of a stripped-down melody and the repeated lyrics "information technology'll stop any day at present".

Product [edit]

Inside was filmed in the invitee firm of the Los Angeles dwelling Burnham shared with his long-fourth dimension girlfriend, filmmaker Lorene Scafaria, before they moved to a unlike property a few months after the release of the special; the invitee house was likewise used for filming the end of Make Happy.[9] A Zillow list later on revealed that the property is the same one that was used to film A Nightmare on Elm Street (1984).[x] Burnham said that due to the COVID-19 pandemic, he worked on the evidence solitary without a crew or audition.[11] [12]

According to a leak supplied to Bloomberg News in October 2021, Netflix paid $3.ixmillion for Within, and assigned it an internal "efficiency" value of two.eight, confronting a baseline score of 1 for content that breaks even;[xiii] the Netflix spokesperson who provided the statistics for Within and several other programs on the streaming service was later fired for releasing confidential and "commercially sensitive data".[14]

Release [edit]

Burnham announced Within on April 28, 2021, along with a small trailer that showed a clean-cut Burnham during the catastrophe of Make Happy, which transitioned into a scene from Within that featured his long-haired and bearded expect.[11] He also posted on both Twitter and Instagram.[xv] [sixteen] On May 21, he announced that Within was to be released on May thirty.[17] The special was released without a press kit or a drove of stills.[18] Information technology was shown in select theaters in the Us between July 22 and July 25, 2021, with certain theaters adding showings later on the initial weekend had passed.[xix]

Inside (The Songs) [edit]

Inside (The Songs)
Soundtrack anthology by

Bo Burnham
Released June 10, 2021 (2021-06-x)
Recorded 2020–2021
Genre
  • Comedy
  • synth-pop
Length 53:28 (original)
57:01 (alternating)
Label
  • Imperial
  • Ingrooves
  • Democracy
Producer Bo Burnham
Bo Burnham chronology
what.
(2013) 		Inside (The Songs)
(2021)
Singles from Inside (The Songs)
  1. "All Optics On Me (Song Simply)"
    Released: July 2, 2021
Professional ratings
Review scores
Source Rating
AllMusic [20]

As announced on June eight, 2021, music from Inside was released as Inside (The Songs) on June 10 on music streaming platforms through Democracy Records. This is in contrast to Make Happy, which was never released as an album.[21] [22] [23] According to Democracy executive Tyler Arnold, he reached out to Burnham a few days later on Inside 'southward release, while watching the special, and the album was released a day subsequently the contract was signed. He had been a fan of Burnham'due south for years and said in August 2021 that he had watched Inside around x times.[23]

"FaceTime with My Mom (Tonight)" was released every bit a music video on Netflix'due south YouTube channel Netflix Is A Joke, on June one.[24] Four music videos were posted on Bo Burnham's YouTube aqueduct: "Welcome to the Net" on June iv,[25] "White Woman's Instagram" on June ten,[26] "All Eyes On Me" on June 16,[27] and "That Funny Feeling" on Nov 27.[28] The vocal "How the Earth Works" and the "Unpaid Intern" song and subsequent sketch were uploaded to Netflix Is A Joke on July 23 and July 25, respectively.[29] [30]

In add-on to the album reaching many national charts, a number of individual songs from the special charted. "All Eyes On Me" became the first comedy song to enter the Billboard Global 200 charts.[31] An alternate version of "All Optics On Me", omitting Burnham's oral communication, was released as a single on July two every bit "All Eyes On Me (Song Only)";[31] it is besides included every bit an boosted runway on an alternate version of the full album.[32] Arnold said that this was done due to fans online requesting a vocal-only version.[33] On July 20, 2021, the day of billionaire Jeff Bezos' flight to space, and July 21, the songs "Bezos I" and "Bezos 2" were viewed a combined total of 1.7 1000000 times, a rise in viewership of 21%.[34] In September 2021, a concrete CD and vinyl release of the album was announced for a release in December 2021, through Imperial Records and Democracy Records. A limited number of CDs were signed.[35] [36] [37]

Track listing [edit]

All tracks are written past Bo Burnham.

Disc 1[38]
No. Title Length
1. "Content" 1:36
ii. "One-act" five:19
3. "FaceTime with My Mom (Tonight)" two:20
4. "How the World Works" 4:fifteen
v. "White Woman'south Instagram" 4:00
6. "Unpaid Intern" 0:34
seven. "Bezos I" 0:58
eight. "Sexting" three:21
9. "Look Who's Within Again" 1:23
x. "Problematic" 3:13
eleven. "30" 2:34
Total length: 29:33
Disc two[38]
No. Title Length
1. "Don't Wanna Know" 1:03
2. "Shit" 1:18
3. "All Fourth dimension Depression" 0:54
4. "Welcome to the Internet" 4:35
five. "Bezos II" 0:45
vi. "That Funny Feeling" 5:01
7. "All Eyes On Me" 5:02
8. "Goodbye" 4:09
9. "Any Day Now" 0:57
Full length: 23:44
Alternate version[32]
No. Title Length
10. "All Optics On Me – Song Only" 3:32
Total length: 27:sixteen

Charts [edit]

Weekly charts [edit]

Year-terminate charts [edit]

Certifications [edit]

Phoebe Bridgers cover [edit]

Phoebe Bridgers performed a song from the special, "That Funny Feeling", with Burnham every bit part of an unannounced advent at Largo at the Coronet on Baronial 4, 2021.[65] Following this, she began performing the song every bit an encore on her 2021 tour for Punisher.[66] On October ane, 2021, Bridgers released a cover of the vocal on Bandcamp with all proceeds going to Texas ballgame funds, in response to Texas' anti-ballgame legislation.[67] Three days later, information technology was released on other streaming services. In its commencement four days, Billboard measured that information technology received 540,000 online streams and 10,800 downloads, placing it at number 2 on its Rock & Culling Digital Song Sales and Alternative Digital Song Sales charts, and number four on the Digital Song Sales survey.[68]

Assay [edit]

Bo Burnham

Burnham is the only person to appear in the special

Tone and format [edit]

Though often described every bit a comedy special, Inside tackles controversial and serious subject matter, with mental health and its deterioration being the most prevalent theme.[69] [70] Brian Logan of The Guardian called it a "comedy Gesamtkunstwerk"—a piece of fine art combining many forms.[71] Tom Power of TechRadar wrote that information technology was a "comedy-drama" and its alternation between stand-up textile, music and "fly-on-the-wall" scenes makes information technology feel like the combination of "a documentary and stage act".[72] Similarly, in Vulture, Kathryn VanArendonk said that information technology "longs to be a concert" in some places and in others approaches "confessional" or "journalistic" styles.[73] In contrast, NPR reviewer Linda Holmes saw it as "not a documentary but an exceptionally well-written slice of theater".[74] Some parts of the special lack humor, while many jokes are met with silence.[71] Both Holmes and The New Yorker 's Rachel Syme analyzed that, of the express traditional comedy in the special, the punchlines feel out of place: Syme stated that they "experience deliberately hackneyed and out-of-date" and Holmes explained that Burnham felt "information technology makes no sense without an audience to express joy at it".[74] [75] In that location is meta-humor and footage of Burnham editing the special and viewing one of his previous videos.[ix] [69] Eric Kohn of IndieWire identified "weird tonal shifts and abrupt transitions" betwixt different sections of the special,[76] and VanArendonk described Burnham every bit displaying "performance energy across a wide spectrum of affects and moods".[73]

Power suggested that the setting of a unmarried room is representative of Burnham's mind, explaining that "scattered instruments, clothes and recording equipment signify the cluttered, messy and overwhelming thoughts he has to deal with on a daily ground".[72] On a related note, Jason Zinoman said in The New York Times that the title has a double meaning, referring to Burnham being inside a unmarried room, and "also his head".[77] Karl Quinn of The Sydney Morning Herald wrote that Within employs the limited setting "as a canvas for inventiveness", only the overall feeling is "claustrophobia and cloying ennui", and even "total-blown depression".[18] Power stated that Burnham "struggles with his solitary confinement" and "gradually loses his grip on reality"; VanArendonk pointed out that Burnham'due south growing bristles and pilus reflect this trajectory.[72] [73] Writing in The Contained, Isobel Lewis saw that "the more he opens up, the more heightened the bamboozlement" he employs, and ended that this is a method of coping with despair.[78]

Reviewers drew parallels to diverse other works. A stand-up comedy routine by Maria Bamford, "The Special Special Special" (2012), was filmed in her firm with her parents equally the audience, similar to Burnham'southward filming constraints of one room and no audience.[76] Staged (2020), a British television one-act set during the COVID-19 pandemic in the Great britain, stars Michael Sheen and David Tennant equally fictionalized versions of themselves attempting to rehearse a stage play solely via video calls during lockdown; The A.V. Club 's Allison Shoemaker institute that both Within and Staged presented pandemic life as having a surreal quality.[79] Isobel Lewis of The Independent said that Within is "largely about comedy itself" and explores Burnham's "complex human relationship with his audience", similar to Hannah Gadsby in her stand up-up set Nanette (2017).[78] Den of Geek 's Bojalad drew tonal connections to A Heartbreaking Work of Staggering Genius (2000), a Dave Eggers memoir that portrays "the confusing, oft exhilarating human being experience" through Eggers' experience of having to raise his younger brother later their parents died of cancer.[70] The song "Unpaid Intern" and subsequent reaction video is similar to the sketch "Pre-Taped Call-In Prove" from the Bob Odenkirk and David Cross sketch show Mr. Show with Bob and David (1995–1998), just Burnham further uses the recursive format equally a way to portray his insecurities.[nine] IndieWire 'due south Eric Kohn said that like Burnham'due south film Eighth Class, the focus is on "the dangerous allure of shutting the earth out in an era of on-demand distractions"; Lewis stated that it was similar some of Burnham's older material, such as the music video to "Words, Words, Words" (2010), in the "effort put into every rapidly changing shot".[78] Several other publications drew comparisons of Burnham'due south lyrical content and appearance to those of musician Father John Misty.[80] [81] [82]

Themes [edit]

Reconstructed image of Jesus

Some critics saw imagery of Burnham as Jesus

NPR'south Linda Holmes said that at that place are blurred lines between "truth and fiction" in the special.[74] In The Daily Beast, Kevin Fallon asked, "What is functioning and what is voyeuristic when the pain we're watching is almost uncomfortably real?" He also suggested that not beingness able to distinguish may be intentional.[83] Matthew Dessem of Slate saw the main subject as "Burnham's relationship to his own work, and that work'south irrelevance in the face of global collapse".[9] On this topic, Kohn described that Burnham'due south "maniacal, passive-aggressive screen presence suggests he's grown contemptuous nigh creating art in a world that reduces it to pure capitalist product".[76] Some reviewers noticed recurring imagery of Burnham as Jesus, with long unkempt hair and a growing beard.[71] [76] [84] Bojalad analyzed the special as "1 entertainer beating his own ego to expiry"; in dissimilarity, TechRadar 's Tom Power said that though Burnham is "leading the states through" the "deeply personal" work, "it's hard not to see yourself in Burnham's identify".[70] [72] Holmes stated that information technology would be familiar to many people who lived through the pandemic that in that location is a "rest" between "2 impulses": one to "stay in bed... alone", and the other to "create, stay busy, and make jokes".[74]

Performativity and Burnham'due south relationship to his audition are key to the special. This follows on from Brand Happy (2016), in which the closing stage song "Can't Handle This (Kanye Bluster)" reflected his clashing relationship with his audience.[70] Subsequently the stage department of Make Happy ends, Burnham performs "Are You lot Happy?" in the same guest house used in Inside and so leaves to bring together his girlfriend Lorene Scafaria and their canis familiaris in the garden. Dessem commented that the filming mode creates "contrast betwixt the austere demands of creative work and the vibrant life going on outside".[nine] Ability wrote that Inside is a "continuation" and "extension" of these themes from Make Happy.[72] VanArendonk identified "endless loops of functioning and consumption, worrying nigh performativity and authenticity and productivity".[73] Through the final scene, in which Burnham watches a recording of himself locked outside while still in the room, Zinoman saw Inside equally "encouraging skepticism of the performativity" of "realism".[77]

The net is a major topic in the special, which explicitly depicts media such as Instagram grids and Twitch livestreams.[73] Zinoman believed it was the "dominant subject", as the pandemic increased the importance of "digital life", and that Burnham demonstrated a "harsh skepticism" towards it: co-ordinate to Zinoman, "the incentives of the web, those that reward outrage, backlog and sentiment" are cast as "the villains".[77] Bojalad contextualized Burnham as having a "fraught relationship with technology and social media" since his career began with a series of YouTube videos posted earlier social media "became something far more than corporate and sinister".[lxx] Rebecca Reid of The Daily Telegraph saw Burnham as non "demonising" or "evangelising" about the net, and instead "capturing the silliness, the horrors, the brilliance and the total futility".[85]

Individual songs [edit]

Bojalad and Reid analyzed a verse in "White Woman's Instagram" near the character's emotions over the past death of her female parent. The majority of the song is "a satirical melody about all the shallow and clout-chasing images that pop up on basic white women's Instagram accounts", according to Bojalad. It uses a narrow frame to mimic a cell phone screen—equally did the earlier song "FaceTime With My Mom (This night)"—but equally the character talks about her mother's death, the frame expands to total size.[70] [77] Reid saw this as a reflection of a immature person's life on social media: "Vapid, inane rubbish... interspersed with occasional moments of boundary-breaking honesty and observation."[85] Bojalad commented that Instagram can be performative, and as with Burnham's own performativity, "sometimes real sneaks itself through".[70]

Gabrielle Sanchez of The A.5. Social club reviewed "Problematic". She compared Inside with Burnham's earliest YouTube videos and plant many similarities in performance style; however, he made "blatantly unfunny, homophobic, and misogynistic jokes" in his early career. Sanchez said that "Problematic" serves a dual purpose of apologizing for this content and satirizing "the electric current cycle of glory telephone call-outs and apologies". Burnham initially uses his young age as an excuse, but then apologizes for doing then in the adjacent verse: Sanchez argued that the message is that "the first step to being a amend person is acknowledging mistakes".[86]

Reception [edit]

Critical response [edit]

On the review aggregator website Rotten Tomatoes, 94% of 49 critics' reviews are positive, with an average rating of nine.20/10. The website's consensus reads, "A claustrophobic masterclass in one-act and introspection, Inside is a beautifully bleak, hilariously hopeful special from Bo Burnham."[87] On Metacritic, the special has a weighted average score of 98 out of 100 based on ix critics, indicating "universal acclaim".[88] It is ranked the eighth-highest television show on Metacritic.[89] Out of five stars, information technology received five stars from The Guardian, The Times, and The Sydney Morning Herald.[eighteen] [71] [ninety] IndieWire gave it an A− rating.[76] Adrian Horton of The Guardian named "All Eyes On Me" one of his favorite songs of 2021.[91]

Variable-message sign reading "STAY HOME, STOP THE SPREAD"

Reviewers praised the special as accurately depicting features of the COVID-19 pandemic.

Critics lauded the special's presentation of the COVID-nineteen pandemic, which is never mentioned by name.[69] Dominic Maxwell of The Times called it "the first comic masterpiece" from the era and Bojalad idea that it could be "a definitive bit of Western popular art to come up out" from it.[70] [90] Slate 'southward Matthew Dessem wrote that it was "ane of the most sincere creative responses to the 21st century so far" and Quinn considered that it could be "the essential document" of the menstruation.[9] Kevin Fallon of The Daily Fauna had not enjoyed other media made or ready during the pandemic, but found Inside "the perfect punctuation on the thou quarantine TV experiment".[83] Similarly, The A.V. Club 'south Allison Shoemaker described it as 1 of a small number of works that are an "constructive and accurately surreal encapsulation" of pandemic life, and Power reviewed it as "culturally relevant and thematically resonant".[72] [79] Lewis identified its surrealism equally what made it fit the cultural consciousness of the pandemic, saying that it left the viewer with a feeling of claustrophobia.[78] Fallon said that other shows about the pandemic were "indulgent, patronizing, or mostly meaningless", but Inside has "an actuality to its very intimate, very personal approach".[83] Den of Geek 's Alec Bojalad further argued that the moving-picture show has a "timeless quality".[lxx] Rachel Syme of The New Yorker viewed it as portraying specifically the "unmoored, wired, euphoric, listless" experience of existence online during the pandemic with "a frenzied and dextrous clarity".[75] Due to Burnham'southward practical constraints, The New York Times 'due south Jason Zinoman believed it evidences that limitations are the all-time grade of inspiration.[77]

Burnham was critically acclaimed for his filmmaking and interim. Ability saw Inside "unique in its arroyo, content and subjectivity".[72] Vulture 'south Kathryn VanArendonk lauded Burnham's directing, writing and performing and Bojalad described it as the best work of Burnham'due south career to date.[70] [73] Fallon said that Burnham's "chameleonic abilities" make the special work, while Shoemaker reviewed the filmmaking as "inherently and marvelously theatrical" and the performance equally vulnerable.[79] [83] Lewis found Burnham's one-act and emotions were relatable.[78] Zinoman commented that Burnham anticipated potential criticisms of the bear witness as "indulgently overheated" with dialogue such as "Cocky-awareness does non absolve anyone of anything".[77]

According to Zinoman, Burnham utilized facets of cinematography that are overlooked by other comedians.[77] Power summarized that the angle and telescopic of shots, the editing and scene transitions, and the lighting furnishings combine to evoke "a fever dream".[72] Kohn viewed the special as making "pitch-perfect gallows humour" from its musicality and visuals.[76] Both Kohn and Shoemaker compared Inside favorably to Eighth Grade, with Kohn saying that information technology was "a happy medium betwixt the silly-strange nature of his phase presence and the advanced storytelling instincts axiomatic from 8th Grade", and Shoemaker opining that it combined "the remarkable filmmaking skill" of the movie with "his usual sharply comedic pop tunes".[76] [79]

Zinoman praised Burnham for showcasing a wider variety of musical styles than his previous specials, including bebop, synth-popular and show tunes, as well as condign "as meticulous and creative with his visual vocabulary as his language".[77] Power wrote that the songs motility quickly from emotion to emotion, and volition take the viewer "laughing one minute and experiencing an existential crisis the next".[72] Many critics singled out songs for praise. Bojalad found a verse in "White Woman's Instagram" virtually the character'south mother dying to be the "near remarkable moment of human kindness and empathy" of Inside, experiencing it as an unexpected scene that had stayed with him since his viewing.[70] Zinoman praised the same song as "visually precise and hilarious".[77] Additionally, Kohn praised "How the Earth Works" as peculiarly strong, and Holmes praised "Welcome to the Internet" as "one of the best executions of" the "wildness" of being online.[74] [76]

Accolades [edit]

Burnham became the start person to win 3 Emmys individually (not shared with another person) in a single year: directing, writing, and music direction.[92]

Afterward being deemed ineligible for the Best One-act Album category, Inside was submitted at the Grammy Awards for the Best Compilation Soundtrack for Visual Media award.[93]

References [edit]

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  4. ^ Heisler, Steve (April half dozen, 2009). "Bo Burnham". The A.V. Club. Archived from the original on June xi, 2021. Retrieved June 12, 2021.
  5. ^ Brownstein, Pecker (Dec 3, 2010). "Young, funny and fearless". The Gazette. Archived from the original on January 23, 2011. Retrieved June 12, 2021.
  6. ^ Zinoman, Jason (December 25, 2013). "Evolving Young Satirist Stands Up to Convention". The New York Times. Archived from the original on September 12, 2019. Retrieved June 12, 2021.
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  9. ^ a b c d east f Dessem, Matthew (May 31, 2021). "Inside, Bo Burnham's New Special, Captures But How Badly 2020 Sucked". Slate. Archived from the original on June 10, 2021. Retrieved June ten, 2021.
  10. ^ Webb, Beth (October 22, 2021). "'A Nightmare on Elm Street' house revealed to be setting for 'Bo Burnham: Inside'". NME. Archived from the original on Oct xxx, 2021. Retrieved Oct xxx, 2021.
  11. ^ a b Clark, Anne Victoria (Apr 28, 2021). "Bo Burnham Fabricated a New Special Alone in His House". Vulture. Archived from the original on April 28, 2021. Retrieved Apr 29, 2021.
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  13. ^ Shaw, Lucas (October 13, 2021). "Netflix Staff Raised Concerns Nearly Chappelle Special Before Its Release". Bloomberg News. Archived from the original on October xvi, 2021. Retrieved October fourteen, 2021.
  14. ^ Patten, Dominic (October xv, 2021). "Dave Chappelle 'Closer' Controversy Blast Radius Grows As Netflix Pink Slips Dismayed Staffer Over Leak". Deadline Hollywood. Archived from the original on October 15, 2021. Retrieved October 15, 2021.
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External links [edit]

  • Bo Burnham: Inside on Netflix Edit this at Wikidata
  • Bo Burnham: Inside at IMDb

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Source: https://en.wikipedia.org/wiki/Bo_Burnham:_Inside

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